The North Wind's Gift

A man confronts his past during an experiment that attempts to find a solution to the problems of a post-apocalyptic world caused by a world war.

Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.

A Pixar short about a lost-and-found box and the unseen monster within.

A young woman's journey across the world following a set of cryptic clues.

A juggler in a park opens his magic box and takes out 3 balls. The audience marvels at his dexterity, until one ball escapes. The mutinous ball takes on magical properties as it draws the juggler into a series of adventures with many levels of meaning: appearance, fantasy and love. Without words.

A screenwriter contacts a prostitute to research a character of his new script.

A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.

Now aged 17, Antoine Doinel works in a factory which makes records. At a music concert, he meets a girl his own age, Colette, and falls in love with her. Later, Antoine goes to extraordinary lengths to please his new girlfriend and her parents, but Colette still only regards him as a casual friend. First segment of “Love at Twenty” (1962).

In this short film by Norman McLaren, dancers enact the Greek tragedy of Narcissus, the beautiful youth whose excessive self-love condemned him to a trapped existence. Skilfully merging film, dance and music, the film is a compendium of the techniques McLaren acquired over a lifetime of experimentation.

The film is based on the feuilleton of the same name by I. Ilf and E. Petrov. A writer named Moldovantsev delivers a thrilling Soviet‐style Robinson Crusoe adventure on deadline, only to have his editor insist on adding a local party chairman, freed ex‐members, an activist collector, a housing committee and even a meeting table, bell and ledger washed ashore. Reluctantly he complies, so far that he jettisons Robinson himself as an unjustified weakling, transforming his novel into an absurd manifesto of bureaucratic excess.

Mercenary Racier Panazio kills everyone standing in his way as he tried to find the murderer who killed his wife at the International Agricultural Show.